Fascinating to hear Eno discuss the evolution of the studio not just as a recording but as a compositional device. Also interesting to hear him make connections between the visual and audio art worlds of the sixties & seventies. Judging from this show it sounds like Eno prefers to collaborate at a distance (I don't get the feeling that he & Byrne were ever in the same room when making Bush of Ghosts). I also get the feeling that Eno, being the master of the synthetic environment that he is, does not really value live performance. Would be very interesting to hear him discuss the evolution of his attitude toward live performance w/ Roxy Music, 801, etc... Also would be interesting to hear him discuss whether the rise of the age of the producer & the studio-generated sound (that he helped bring about) has meant the decline of musicianship & of music as a communal activity not only in the west but in many of the nonwestern cultures that he so admires.

this is great Life in the bush of ghosts

I don't intend this as a criticism of the above reviewer. I just can't allow to stand a remark that Eno peaked after 1980. He has always stretched the limits of his own creativity, a period which began long before 1980. To be sure, commercial bands like U2 might have fizzled out without Eno's contribution, but are we to completely dismiss earlier experiments? I don't think so.

It's good to see an easy to use audio player here. But surely the quality has suffered. The Eno interview is noticably slower, which, when you consider that this is dealing with sonic arts, is just wrong.

It is unfortunate that you have chosen to remove the higher resolution, downloadable versions of Other Minds Archive. I hope this is only temporary and that others will be allowed the benefit of higher quality audio and the playback mechinism of their choice.

Very interesting discussion about music and art, processes and studio techniques. Well worth a listen.

A snapshot in time. This interview covers the Eno/Byrne collaboration, "My Life in the Bush of Ghosts". "Another Green World",
"Tiger Mountain" were done and U2 was still a local bar band in Belfast. There is a great sense of potential energy aching for release.
The use of the music studio as an instrument,
as an orchestra, as a symphony - this is his primary topic.
(Off the topic, but while I have your attention)
IMHO, "Spinning Away" works as layered composition, touching lyric, and for the past few years, bedtime lullaby for my kids. The artist, sketching a sunset, darkening as his 'pencil changes moments into lines', sees his task from the cosmic point of view, 'as the great wheel of the planet spirals in'.
The best of the Eno/Cale collaboration (although their 'creative differences' had spun out of control by then, according to Cale's autobiography).

I've always enjoyed Eno's music and reading various interviews (in particular, the one in Wired a number of years back) but I'd never actually heard him in a live interview. In this recording he's calm, well spoken, self-effacing and very interesting--in a way, I suppose like his music. A wide variety of sounds are played throughout the program, the kind of eclectic musical queue you'd expect from Eno.